The IRE Resource Center is a major research library containing more than 23,250 investigative stories — both print and broadcast. These stories are searchable online or by contacting the Resource Center directly (573-882-3364 or firstname.lastname@example.org) where a researcher can help you pinpoint what you need. Browse or search the tipsheet section of our library below. Stories are not available for download but can be easily ordered by contacting the Resource Center:
The IRE Resource Center is a major research library containing more than 23,250 investigative stories — both print and broadcast.
These stories are searchable online or by contacting the Resource Center directly (573-882-3364 or email@example.com) where a researcher can help you pinpoint what you need.
Browse or search the tipsheet section of our library below. Stories are not available for download but can be easily ordered by contacting the Resource Center:
Search results for "Russian art" ...
The Russian modern art market is saturated with fake works. Many European museums and auction houses are completely filled with fraudulent pieces. Once source says that phony modern art from Russian far outnumbers authentic pieces. The problem is exacerbated by a network of experts and professionals who accept large fees to validate Russian modern art as authentic.
Forgers were buying inexpensive paintings by minor European artists from the 19th century, and "russifying" them. They added fake signatures and sold them for large sums to inexperienced Russian collectors. For instance, the forgers would replace something in the painting, perhaps a Roman ruin, and replace it with something more "Russian," like an onion-domed church. The value of these paintings went from a few thousand dollars elsewhere to hundreds of thousands of dollars in Moscow. ARTnews' story includes before and after photos showing how some works were altered to look more "Russian."
ARTNews reports that "the sale of the Lomonosov Porcelain Factory in St. Petersburg, Russia, to foreign investors was opposed by Russian cultural figures. The fate of the factory's museum of priceless ceramics was uncertain. (The) investigation revealed that the factory had been privatized in an extremely questionable way and had involved some shady characters. The US government was involved because some of the investment money came from a government agency, USAID. A major private investor was Kohlberg Kravis & Co. (KKR)."
Tags: Ministry of Culture art history Imperial Porcelain Factory Russian avant-garde artists October Revolution of 1917 Malevich Vasily Kandinsky Vladimir Yakovlev Yuri Maslyukov Yevgeny Barkov Natalya Danko
This recounts one of the last great art stories of the Cold War. At its core is art the Soviets had outlawed and denounced for half a century but whose value they had belatedly come to recognize. In the fall of 1986 a treasure trove of Russian art and documents was taken from a house in Paris to the Soviet Embassy. The owner, Alexandra Tomilina, was close to death in a Swiss hospital. A few months earlier, she had traded them to the Soviet government in exchange for a small monthly pension. For a few francs, the Soviets had acquired artworks and documents worth millions. However, French inheritance tax is very high, and the Soviet government would owe about 60 percent of the total value in taxes. And French cultural- property export regulations are strict. The treasures were smuggled back to Russia to avoid paying the taxes. They are inaccessible to everyone, in storage in the basement of the Tretyakov Gallery in Moscow. Until the Russians and the French negotiate the issues of tax evasion and smuggling of cultural property, that's where they will remain.
ARTnews investigates how Russian art has come to the West illegally for the past 70 years while the Soviet Union was isolated behind the iron curtain. Forgers, smugglers, and corrupt officials control the traffic and make huge profits from it, while collectors, dealers, and museums in the West are duped. (Feb. and Sept. 1996)
ARTnews (New York) reports on the revolutionary changes that have taken place within the artistic community of the former Soviet Union; tells of the art being created by the first truly free Russian artists; gives an account of the fight between the museums and the Russian Orthodox Church over priceless pieces of art; discusses the attempt of a great artist's granddaughter to reclaim his paintings from Russian and Western museums, 1992.